An important influence on early twentieth-century intellectual figures ranging from lily-licking bull-dyke Jewesses like Gertrude Stein to decadent National Socialist poets like Gottfried Benn, the tragic Judaic philosopher was apparently once described by Adolf Hitler during a 1941 conversation with Henry Picker in the Wolf’s Lair in the following fashion: “This destructive role of the Jew has in a way a providential explanation. If nature wanted the Jew to be the ferment that causes peoples to decay, thus providing these peoples with an opportunity for a healthy reaction, in that case people like St. Paul and Trotsky are, from our point of view, the most valuable. By the fact of their presence, they provoke the defensive reaction of the attacked organism. Dietrich Eckart once told me that in all his life he had known just one good Jew: Otto Weininger, who killed himself on the day when he realized that the Jew lives upon the decay of peoples.” Undoubtedly, Weininger is a rare case of a Jew whose radical rejection of his own people and religion was innately intertwined with both his intricate personal Weltanschauung and rejection of life, with his suicide being arguably the truest form of post-religious Jewish transcendence and spiritual rebirth. In fact, the exquisitely ethno-masochistic philosopher even converted to Protestantism about a year before his suicide in what seemed like a failed last ditch effort to shed his inner Jew and become a noble Christian Aryan.
Of course, this conversion was a failure as Weininger soon committed self-slaughter by shooting himself in the heart in the same exact room where his Aryan hero Beethoven died 76 years earlier, yet he still received a Christian burial, with his tombstone fittingly reading : “This stone marks the resting place of a young man whose spirit found no peace in this world. When he had delivered the message of his soul, he could no longer remain among the living. he betook himself to the place of death of one of the greatest of all men, the Schwarzspanierhaus in Vienna, and there destroyed his mortal body.” Whether his intention or not, Weininger picked a quite auspicious time to commit suicide, as his self-ordained premature death and the strangely poetic circumstances surrounding it made him a cause célèbre in the German-speaking world to the point where he inspired numerous copycat suicides and his timeless tome Sex and Character, which was initially poorly received, finally achieved the critical acclaim it deserved. A true martyr of modernity who argued that men—be they Jew or Aryan—should completely emancipate themselves from the spiritual plagues of Judaism and femaleness, Weininger might be described as the purest and most authentic of philosophers as it can be easily argued that his suicide was merely an full-fledged execution of his philosophy. Indeed, quite unlike the countless culturally corrosive Judaic thinkers ranging from Marx to Derrida to Adorno that have contaminated the Occident with carefully calculated deceptions, pathological anti-European iconoclasm, culture-distorting, and asininely abstract word games, Weininger actually believed what he wrote, hence his tragic yet seemingly inevitable fate.
To Weininger's credit, his writings do hint that he was well aware of his intrinsic lack of Aryan manhood, which is especially apparent in the following excerpt from Sex and Character, “We do not hate anything with which we have no affinity at all. Often the other person only makes us realize the ugly and mean features we have in ourselves. This explains why the most rabid anti-Semites are found among the Jews. For only the completely Jewish Jews, like the totally Aryan Aryans, have no antisemitic disposition whatsoever.” While Weininger once wrote, “The real Jew, like a real woman, lives only within his species, and not as an individual,” he would unequivocally demonstrate with his self-slaughter that he was innately individualistic and hardly a passive follower of an ancient death cult that strives towards mindless collectivism, in-group self-worship, and ethnic chauvinism above all else. After all, women commit suicide on a much smaller scale than men and when they do get the gall to kill themselves they very rarely do it in a violent fashion that involves using a gun.
In one of the film’s more striking and eerily erotic scenes, the viewer is exposed to a naked green-skinned Jewess lying in a tree whose rather shiny unclad body is covered in Tefillin straps as if they were bondage. Of course, these is a rare scenario of celluloid Hebraic hereticism as Tefillin (aka ‘phylacteries,’ which translates from Ancient Greek to “to guard, protect”) are a set of small black leather boxes containing scrolls of parchment inscribed with verses from the Torah that are worn by religiously observant male Jews during weekday morning prayers and hardly objects that should be wrapped around busty unclad babes sitting in trees. By featuring a scene with a Hebraic harlot with nice tits covered in a religious object that is strictly worn by Jewish males, Nagler is probably alluding to the inherent misogynistic traditions of Judaism and how Weininger might have, somewhat ironically, inherited some of his attitudes regarding women from his ancestral faith. While his Hebrewess goddess would probably be somewhat alluring to most heterosexual males, Weininger would clearly be horrified by this lecherous lady who seems like she might suffer from vagina dentata.
Notably, in Midrash in Ecclesiastes Rabbah it states: “When God created the first man he took him and showed him all the trees of the Garden of Eden and said to him, ‘See my works, how beautiful and praiseworthy they are. And everything that I created, I created it for you. Be careful not to spoil or destroy my world–for if you do, there will be nobody after you to repair it.’” Of course, what better way to destroy God’s creation than to have a seemingly lecherous Hebraic hoe lying on it in an erotically inviting fashion?! On a more simple level, this scene seems to be symbolic of Weininger’s association of Judaism with his own supposedly warped sexuality, with the philosopher being just as repulsed with the obscenely outmoded dualistic laws of his ancestral faith as the scent of warm wet kosher cunts.
As the above quote from Sex and Character also proves, Weininger was alarmingly prophetic to the point where one suspects that one of the reasons he committed suicide was because he could not bear to see where the world was headed. Indeed, it is a true sign that we live in (pre)apocalyptic times when a modern-day Sodom known as Hollywood regularly defecates out films where grotesque overweight heebs like Seth Rogen and Jonah Hill Feldstein discuss important things like their friends' cocks and scheme to find ridiculously craven means to get in the unkosher panties of unwitting drunken blonde shiksa skanks. Of course, a world as culturally corrosive and decidedly degrading as the one where sapless scatological schmucks like Rogen and Feldstein are famous could not produce a Weininger, thus underscoring the importance of a film like The Sex of Self-Hatred where a genius of the past is given new life in an era when his theories are needed most.